Review Rundown: The One Where ‘Sleep No More’ Comes Back

Let’s jump to it: this is the one where the Review Crew talks about Sleep No More returning to its home in NYC and the production changes brought about by the pandemic. Since it’s a BIG SHOW that remains one of the centerpieces of the immersive world, we’ve got two takes on it: one from a Crew member who has been a bunch and one from a team member who only went to the show once before.

That’s not all that’s going on this week, as we’ve got two very different kinds of remote shows on the docket also. All in all: a robust week for immersive, even if we’re only talking about four takes on three shows.

Are you a creator who looks upon these reviews with jealousy? Okay, the positive ones, at least? Then you might want to check out our How To Get Covered By NoPro guide.

Want more from the Review Crew? Last week’s rundown is here, and you can check out the latest podcast from the team.

En Route — En Route Team
$20; Browser; through Feb 26

With its 2.5D graphics and point-and-click space adventure aesthetic, En Route looks like something you might buy on the Steam store during a deep dive of indie games. Looks, however, can be deceiving, as this is actually a clever experiment in immersive gaming that blends elements of social deduction games, LARP, and theatre, built on top of a custom platform that mixes multiple technical solutions into a fairly seamless package.

From a tech standpoint, En Route has a lot going for it: players and three live actors interact on the map via a combination of game engine mechanics and proximity-based video chat. Each round of the game culminates in a group vote, bookended by pre-recorded video, which impacts the conditions of the next chapter. Aside from some glitches that let people run off the map (but seemingly they could get back onto the map, it was unclear to me, as I didn’t run off the map), the platform ran fairly cleanly, even with a couple dozen players all tearing about the ship, talking to each other, and clicking on everything in sight.

The performance and video production values are solid and feel like they could be in a late 90’s video game with FMV sequences. Only, you know, for large parts of it, the actors can actually interact with you.

Where the excellent concept can see some improvement is on the narrative side, as the story that emerges over the course of the game feels like it is railroading you towards the obvious, moral choice, as opposed to a real ethical dilemma. Some simple adjustment to the stakes, or some more narrative clarity around the stakes — there were times it felt like a flubbed line from an actor spun entire bits of lore out of orbit — could lead to a tense final act instead of an ending that feels like the “right” one.

In any case, En Route is worth the time and we’re keen on seeing the team behind it iterate on the format.

— Noah Nelson, Publisher & Host of the NoPro Podcast

The Ministry of Mundane Mysteries: On Call — Outside the March
$20; Remote (Phone); through March 14

The Ministry of Mundane Mysteries charmed me back in April 2020, when Inspector Cavanagh uncovered a sinister plot to replace all of the tiny plastic cows in my house (don’t ask) with clever replicas. Back then, cases took a week to solve and required just 10 minutes of phone time a day. So when I heard that Outside the March was adapting MMM into a one hour experience, I was curious. How would that even work? Pretty well, it turns out.

The Ministry of Mundane Mysteries: On Call is just as delightful as its predecessor. Fans of the show will recognize the Ministry’s format: your inspector will call with a few questions and things snowball from there. Expect lots of personal attention, a series of short calls, and access to a handful of over-the-top characters. I found myself wishing I had something show-related to do between calls since 2 minutes feels like a lifetime when you’re waiting for someone to call you back, but that’s my only complaint. Otherwise, the voice acting is superb (some of the best I’ve heard), the foley is well-placed, and the stories are wacky in a “Sideways Stories From Wayside School”-kind of way. The Ministry of Mundane Mysteries: On Call is a good show for families, for kids, for people who want to experience immersive without leaving the house, and for regular old grown-ups with run-of-the-mill unsolvable mysteries.

I used my time with The Misplaced Keepsake Division to help Inspector Shaboo solve the Case of the Missing Photograph. Turns out my picture had been paranormally reclaimed by Big Al’s Chlorine Factory, which was not something I would have considered — but that’s why these guys are the pros. Just like their theme song says, there really is no mystery too mundane for the Ministry of Mundane Mysteries.

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— Leah Davis, New England Correspondent

Sleep No More — Emursive and Punchdrunk
$99.50 — $339.44; New York, NY; Ongoing

Sleep No More is finally back!

With new pandemic-based updates, the production welcomed guests into the shuttered doors of the McKittrick Hotel once more, and, oh, how we have missed it. Having only attended one Sleep No More performance prior (but numerous other events and parties in the space), I was looking forward to seeing how the changes measured up to my last experience.

Some major design swaps include a half mask paired with an KN95 as well as the loss of the famed one-on-one scenes. Although I understand the necessity for the latter, it did change things drastically for me. I had found previously that SNM had an element of gameplay to it, with the hopes of earning a one-on-one by trailing performers, which naturally dissipated with the end goal now null. But what I didn’t expect to lose was the chance to connect with performers almost at all. I spent a long time with Macbeth and Lady M and felt like I was watching cleverly staged proscenium theatre with zero acknowledgment or meaningful engagement of the audience.

However, I did see some performers trying to find their way around the new design changes. I also spent some time with Boy Witch and, maybe it was just me, but I noticed a different quality of interaction with this performer. For example, after a moment with the Bellhop, Boy Witch departs further into the space and while the handful of audience members watching stayed with the Bellhop, I followed Boy Witch and was offered a chair to watch a sultry lip synch performance, which, for a moment, felt like it was just for me. And even though it wasn’t, as others joined to observe shortly later, what this performer did so well was make it feel like it was.

I noticed this element in other moments in their track as well, with eye contact and direct gestures here and there, and even a playful acknowledgment of the trailing, which all added so much. The performer really helped to quell the disappointment in the lack of individualized engagement and fulfilling, intimate connection which is so sought after in immersive work. This time around I also actually found that I was able to follow more of the story in Sleep No More, which I can imagine is likely because I was less distracted by the prospect of earning a one-on-one. And while it was bizarre to be in a space with so many people, I felt myself falling right back into it.

— Allie Marotta, New York City Correspondent

Although not an expert, I am a huge fan of Sleep No More. My show count is somewhere in the awkward teens; not enough to be proud of, but enough to be slightly embarrassed. Still, it is with much delight that I return to Manderley once more.

With strong COVID protocols (all entrants “double vaxxed,” plus a 48-hour negative test, and mandatory KN95 masks) the rigorous procedures for the show help calm my inner-hypochondriac as we early arrives are later surrounded by a swarm of guests. The new “double” mask gives greater anonymity to the spectral voyeurs at the hotel, and while I miss seeing other guests’ expressions, I am deeply grateful to the Sleep No More team for taking safety so seriously.

In the past, I have unfortunately been stolen away from the mystical world of the McKittrick Hotel because a disrespectful patron must check their phone notifications. Today, all phones are confiscated in wallets, which can only be opened by staff. (This pre-show addition did create something of a bottleneck for the experience, but is a much appreciated extra step in this frustrated audience member’s opinion.)

As for the show itself, little has changed in this timeless hotel. Every single performance is as spectacular as you remember, with characters guiding the audience with just a glance and their exquisite movement. Again I am amazed at the set and the sound and lighting design, which immediately intrigues and captivates. The story is still a glorious mesh of the Scottish play and Hitchcock — only in this production, you are the director, choosing where to focus in this multi-story experience.

For those in the know, the famed and much coveted one-on-ones of yesteryear are no more. There are times when a Sleep No More character might perform a sequence similar to their one-on-one, but it is now to a small group, with perhaps one audience member being singled out with a glance. It is not quite as magical as the exclusivity previously provided, but without the “contest” against other audience members to attain a coveted prize, I find myself able to better enjoy my experience. I can better enjoy the open world rather than pursuing an exclusive side mission.

Sleep No More has been a catalyst for many into immersive theatre, myself included, and we grieved the presumed loss of this production when our world was forever changed. This time around, I am fortunate enough to be accompanied by a character for the final moments of the show. She places an arm around me as we watch the final scene, and her grip tightens. We lock eyes, and I felt myself moved to the brink of tears in this intimate moment.

To see the show return, and to walk again through the haunted hauls of this unearthly hotel, is truly wonderful.

– Edward Mylechreest, New York City Correspondent

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